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BWAY (PBS) Student Guide PDF
BWAY (PBS) Student Guide PDF
1A
CULVER
Band, the biggest hit of its day. Among other hits, he wrote Oh, How I Hate
to Get Up in the Morning, Whatll I Do?, Theres No Business Like
Show Business, Easter Parade, and the patriotic God Bless America,
in addition to shows like Annie Get Your Gun. He died at the age of 101.
My New York by Irving Berlin. (c) Copyright 1927 by Irving Berlin, Inc. (c) Copyright
Renewed 1954 by Irving Berlin. International Copyright Secured, Reprinted by Permission.
All Rights Reserved.
Questions
Activities
1. What is Irving Berlins song My New York trying to express?
1. Write your own version of the lyrics for My New York
Whats the point of view about the city and, by extension, America?
by plugging in the name of your city or community,
adding personal observations about where you live.
2. What made New York City a likely place for the emergence of new
American art forms like the Broadway musical?
2. Pair off with a classmate who has a different ethnic
background than yours. Tell him/her your family history
3. In what ways were Berlins songs expressions of continuity in
and vice versa. Write and perform a poem, song or
American culture? In what ways did they signify change in
American culture?
EPISODE ONE
1B
CORBIS
Questions
1. What talents made performers like Bert Williams and Fanny
2.
3.
v Revues, like Ziegfelds Follies, were produced on Broadway, and were plotless
shows that provided first-class performance and design.
It was every performers dream to work his
or her way up the ladder of show business to
appear in a Broadway show. Appearing on
Broadway meant the ultimate acceptance
as an artist and as an American.
Activity
Research a performer, writer or composer who
immigrated to the United States as a child or a
young adult. (Some examples: Bert Williams,
Irving Berlin, Celia Cruz, Wyclef Jean, Joan Chen,
and Arnold Schwarzenegger.) Focus on the
difficulties he or she may have had in reaching
a mainstream audience. What was the key to his
or her success? Offer examples.
EPISODE TWO
2A
Syncopated City
(1919-1933)
Thou Swell
(excerpt)
Babe, we are well met,
As in a spell met
I lift my helmet.
Sandy,
Youre just dandy
For this here lad.
Youre such a fistful,
My eyes are mistful
Are you too wistful
To care?
Do say you care
To say Come here, lad.
You are so graceful
Have you wings?
You have a face full
Of nice things.
You have no speaking
voice, dear.
With evry word it sings.
Thou swell!
Thou witty!
Thou sweet!
Thou grand!
Wouldst kiss me pretty?
Wouldst hold my hand?
Both thine eyes are cute, too
What they do to me.
Hear me holler
I choose a
Sweet lolla
Palooza
In thee.
Id feel so rich in
A hut for two.
Two rooms and kitchen
Im sure would do.
Give me just a plot of
Not a lot of land,
And,
Thou swell!
Thou witty!
Thou grand!
Lorenz Hart
Question
Activity
The lyrics for Thou Swell combine medieval words with contemporary words. Which words are medieval-sounding? What
happens when these words are put together with modern words?
Listen to Rodgers tune for Thou Swell. Imagine that you are
Larry Hart and your assignment is to write a song based on
Thou Swell thats set in 2004. What kind of language will you use?
EPISODE TWO
2B
Syncopated City
(1919-1933)
Ira Gershwin
who took to it; as time went on, Ira provided lyrics for his brothers
melodies. George was a piano prodigy who quit school to work in a
music publishers company. By 1924, the Gershwins wrote a
musical comedy, Lady, Be Good! starring Fred Astaire. That year,
George wrote the famous piano concerto Rhapsody in Blue.
Together the brothers wrote many successful shows (Of Thee I Sing,
Porgy and Bess) and songs Nice Work if You Can Get It, I Got
Rhythm, Fascinating Rhythm, and It Aint Necessarily So
PHOTOFEST
George Gershwin
Activity
Look at some other song lyrics from the 1920s or 1930s such as Fascinating Rhythm by Ira Gershwin
or You Took Advantage of Me by Lorenz Hart. How did the lyricists use slang of the period? Are
there any phrases you dont understand? Use the Web or other resources to find out more about the
slang of the 1920s or 1930s and list the words you particularly like. Write a poem or song lyrics, using
slang to write something funny about love.
EPISODE THREE
3A
of the 1920s
Brother, Can You Spare a Dime?
supplied a seemingly endless stream of fun, the social
They used to tell me
concerns of the 1930s created two distinct responses: there
I was building a dream
were still effervescent musical comedies that took the
And so I followed the mob.
audiences minds off their troubles for three hours at a time,
When there was earth to plough
but there was also a strong vein of social criticism and political
Or guns to bear
I was always there
satire in the American musical. Escapism and engagement
Right on the job.
were the dueling stars of the Broadway stage.
E. Y. "Yip" Harburg
Question
The lyrics for the music in
The Wizard of Oz, a favorite
childhood movie of many
Americans, were written by
the man who wrote Brother,
Can You Spare a Dime?
What significance might
songs like Somewhere Over
the Rainbow have for an
average American during the
Depression?
Activities
1. In Brother Can You Spare a Dime? the song
is sung in the first person. Who is singing the
song? Could you construct a biography for
the singer? Can you find another poem or
song that has the same point of view? Or that
uses an iconic figure to narrate the piece?
2. Stage a breadline from the 1930s with members of your class. What kind of conversations would be going on among grown men
waiting in line for hours for handouts of food?
Create a poem or song that includes these
conversations.
EPISODE THREE
3B
CULVER
Ethel Waters
in October of 1929,
the Depression struck New York City with a hardship that bordered on cruelty. By 1932, the depths of the Depression, onethird of the citys factories were forced to close. Out of a population of seven million, 1.6 million people were on relief an
early and inadequate form of welfare and nearly a third of
all New Yorkers were unemployed or accepted some form of
job cut or partial pay.
Theaters closed down or were turned into the far more financially successful movie theaters. It was harder to raise money
for a new production; in 1927-28, there were a record 267
productions on Broadway, by 1932, there were 181. During
the Depression on Broadway, there were 5,000 Equity actors
looking for employment and an additional 20,000 theater
artists desperate for work. Out of this adversity came an
extraordinary decade for the American musical, which, next to
the daily newspaper, became the most vibrant and topical
indicator of what was going on in America. The Depression,
union solidarity, the policies of the New Deal these were all
topics central to successful Broadway musicals.
After a landslide re-election victory in 1936, President Franklin
D. Roosevelt seemed to have only partial success with the New
Deal and all over the nation, struggles between labor and
management were exploding into dangerous and often fatal
altercations. In Pittsburgh, Michigan and Chicago, strikes
ended in violence as workers were beaten and fired upon in
the spring of 1937. Passionate arguments about the future
direction of the country were commonplace until 1941 when
America entered the Second World War.
Questions
Activities
1. During a major historical event, like the Depression, 1. In the 30s, many musical theater pieces spoofed the government
we often turn to historians to try and understand the
period. What do we learn when we turn to poets,
songwriters, comedians, or filmmakers? What do
they have to tell us? What do you think inspires
these artists? Why might their perspectives be
important?
2. Why do you think some producers, directors, writers, and performers used musicals in the 1930s as
vehicles for criticizing the government? Do you
think it is as common today? Why/why not? What
different political climates exist today for art and
free expression?
2.
Look more closely at one of the political musical of the 1930s, such
as Of Thee I Sing, The Cradle Will Rock, As Thousands Cheer, or
Pins and Needles. Investigate the people behind the shows and the
real political events they were portraying or parodying. Imagine you
are the producer or director working on a revival of the show and
come up with a concept of how you would design the sets and stage
the musical today.
EPISODE FOUR
4A
Richard Rodgers
Activities
1. Look at an original play or story (Pygmalion, Romeo and
Juliet) and compare it to the musical version (My Fair Lady,
West Side Story). What changes were made? Why were
these things changed? Think about which ones seem most
successful to you. Why? When people sing in the musical
version, what happens to the original dialogue?
2. Pick a novel, play or short story you like and think about
how you would adapt it as a musical. What parts of the
story would become songs? Or dances? Have you
made the story more interestingor have you weakened it in some way?
EPISODE FOUR
4B
Soliloquy
I wonder what hell think of me!
I guess hell call me
The old man.
I guess hell think I can lick
Evry other fellers father
Well, I can!
I bet that hell turn out to be
The spit an image
Of his dad,
But hell have more common sense
Than his puddin-headed father ever
had.
Ill teach him to wrassle,
And dive through a wave,
When we go in the mornins for our
swim.
His mother can teach him
The way to behave,
But she wont make a sissy out o
him
Not him!
Not my boy!
Not Bill
Bill!
My boy, Bill!
(I will see that hes named
After me,
I will!)
My boy, Bill
Hell be tall
And as tough
As a tree,
Will Bill.
Like a tree hell grow,
With his head held high
And his feet planted firm on the
ground,
And you won't see nobody dare to
try him
To boss, or toss him around!
No pot-bellied, baggy-eyed bullyll
toss him around!
I don't give a hang what he does,
As long as he does what he likes.
He can sit on his tail
Or work on a rail
With a hammer, a-hammerin spikes.
He can ferry a boat on the river
Or peddle a pack on his back
Or work up and down
The streets of a town
With a whip and a horse and a
hack.
He can haul a scow along a canal,
Run a cow around a corral,
Or maybe bark for a carousel
Of course it takes talent to do that
well.
He might be a champ of the heavyweights
Or a feller that sells you glue,
Oh, Bill!
What would I do with her? What
could I do for her?
A bumwith no money!
You can have fun with a son,
But you got to be a father
To a girl!
She mightn't be so bad at that
A kid with ribbons
In her hair,
A kind o' sweet and petite
Little tintype of her mother
What a pair!
My little girl,
Pink and white
As peaches and cream is she.
My little girl
Is half again as bright
As girls are meant to be!
Dozens of boys pursue her,
Many a likely lad
Does what he can to woo her
From her faithful dad.
She has a few
Pink and white young fellers of two
or three
But my little girl
Gets hungry ev'ry night
And she comes home to me!
I got to get ready before she comes!
I got to make certain that she
Won't be dragged up in slums
With a lot o' bums
Like me!
She's got to be sheltered and fed,
and dressed
In the best that money can buy!
I never knew how to get money,
But, I'll try
By God! I'll try!
I'll go out and make it
Or steal it or take it
Or die!
Oscar Hammerstein II
Soliloquy by Richard Rodgers and Oscar Hammerstein II. (c) Copyright 1945 by Williamson Music.
Copyright Renewed. International Copyright Secured. Reprinted by Permission All Rights Reserved.
Questions
Activity
1.
2.
What characterizes Billy at the beginning? What are his values? Who
is he when the song is over? Are his values the same? If not, what
changes them and where can you spot the change?
EPISODE FIVE
5A
Tradition
(1957-1979)
Broadway struggled
to adapt to the powerful cultural shocks of the era,
ultimately breaking free from stagnant conventions to
enter a period of provocative reinvention. Broadway
previously at the center of the culture became overwhelmed by the eras tumultuous social change and the
sudden supremacy of rock and roll. Yet, the Broadway
musical found that it could tackle the issues of its day
by sometimes conveying them in other time settings
with shows like Cabaret, Fiddler on the Roof, and Man
of La Mancha. The musical was also capable of putting
current events on stage, and no show was as blatant as
an American Tribal Love Rock Musical called Hair.
Cabaret
MARTHA SWOPE
(1966)
Hair
John Kander
EPISODE FIVE
5B
Tradition
(1957-1979)
Cabaret
If You Could See Her (excerpt)
In this number, the Emcee dances with an actress
wearing a gorilla suit and a ballet skirt:
Fred Ebb
Cabaret
Fred Ebb
"If You Could See Her" & "What Would You Do?" from the Musical CABARET. Words by Fred Ebb. Music by John Kander. Copyright (c) 1966, 1967 by Alley Music Corporation and Trio Music Company, Inc.
Copyright Renewed. International Copyright Secured. All Rights Reserved Used by Permission.
Questions
1. What does Cabaret say about Berlin in
the 1930s? What does it say about
America in the 1960s? How does it
speak to America in 2004?
Activities
1. Often writers will tackle the serious issues of their own time by setting a story
in a previous, but parallel, era. This device has been used by writers as diverse
as Shakespeare, Toni Morrison and Arthur Miller. Examine a period show
such as Fiddler on the Roof, Man of La Mancha or Cabaret and compare it to
what was going on in our country while it was first running on Broadway. Do
some research in newspapers or magazines of the time; make copies of articles
that discuss issues you feel are addressed in the Broadway show.
2. Compare headlines and stories from 1968-69 with the songs and scenes from
Hair. Using online resources or news articles on microfilm at your library, find
out what current events were put into the show. How much of Hair relates to
issues in 2004? What would the reaction be if you revived it?
3. Discuss issues of 2004 with your classmates. Where would you set a musical
other than today that might illuminate contemporary concerns about 2004?
What are some parallels from the past to todays culture?
EPISODE SIX
6A
Putting It Together
(1980-2004)
PHOTOFEST
Florenz Ziegfeld
David Merrick
PRODUCERS
Florenz Ziegfeld
The idea for a new musical can come from a writer, composer, or performer, but it can only be realized by a producer. He or she must raise the money for the production. The amount required is called the capitalization.
This amount must cover not only getting the show to
opening night, but also create a financial cushion for
several weeks or months until the show catches on with
audiences. The producer will rarely spend his own
money; he raises it from investors usually called backers or angels, for obvious reasons and pays himself a
salary. If the show is a success and pays back its initial
expenditure (recoupment), the investors get whatever
percentage of their contributed amount back in profits.
For example, if you invested $1000 in Oklahoma! in
1943 and it cost $100,000 to produce, you would get 1%
of the profits after recoupment (distributed weekly). If
Oklahoma! had flopped, you would have lost all your
money; luckily, the show was a big hit and anyone who
did invest $1000 received $2.5 million! Thats why
theres no business like show business.
Other costs incurred by a producer are:
sets, costumes, lights, make-up, sound
renting a theater
publicity (newspaper ads, posters, etc.)
salaries (actors, musicians, stagehands, production
assistants)
royalties (percentages of the box office that pay writers and creative staff)
options (buying up the rights to someones property
or creative work)
EPISODE SIX
6B
Putting It Together
(1980-2004)
PAUL KOLNICK
The plot of the show is taken from Mel Brooks 1968 film of
the same name. Two crooked producers, the show-biz veteran
Max Bialystock and his timid accountant, Leo Bloom, create a
scheme where they raise 25,000% of the money for the worst
show they can create called Springtime for Hitler. If it flops,
they dont have to return any of the investment to the backers.
This song is Leos secret dream:
LEO:
GIRLS:
I wanna be a producer
And sleep until half-past two.
I wanna be a producer
And say, You, you, younot you.
I wanna be a producer,
He wants to be a producer
Of a great big Broadway smash!
He wants to be a producer,
Evry pocket stuffed with cash!
He wants to be a producer,
Pinch our cheeks til we cry Ouch!
He wants to be a producer
With a great big casting couch!
He wants to dine
With a duchess and a duke.
LEO:
I just gotta be a producer,
Drink champagne until I puke!
I wanna be a producer,
Show the world just what Ive got.
Im gonna put on shows
That will enthrall em
Read my name in Winchells column!
I wanna be a producer
Cause its everything Im not.
I wanna be a producer
Im gonna be a producer,
Sound the horn and beat the drum.
Im gonna be a producer,
Look out, Broadway, here I come!!
Mel Brooks
"I Wanna Be A Producer" from THE PRODUCERS. Music and Lyrics by Mel Brooks. Copyright (c) 2000 Mel Brooks Music (BMI). All Rights Reserved Used by Permission.
Questions
1. Leo Bloom wants to be a producer.
Why would anyone want to be a
producer? Would you?
Activity
Pretend you are a producer and you want to produce a musical. What kind of property would you option? Would your production have a big budget (say, $14 million) or
a modest budget? Most importantly, how would you budget your money and how
would you apportion it?
As a class, choose a musical youd like to produce. Working in groups, create budgets and time-lines, then compare them with those prepared by your classmates.
Some budget items include artists fees, theater rental and lighting equipment. Its
important to recognize what kind of musical you have and what you think the best
audience would be for it. For more information, go to How Broadway Musicals Are
Made on the Web at www.musicals101.com/makemusi.htm and How to Put On a
Musical at www.musicals101.com/puton.htm. How will you try to make sure that
your audience enjoys the show?
7A
ENGLISH / LANGUAGE ARTS
SONGS IN MUSICALS
are often more important than the melody.
A finale sums up the show and its theme and
is often sung by the whole company:
Youll Never Walk Alone, or One from
A Chorus Line.
PHOTOFEST
Activity
7B
ENGLISH / LANGUAGE ARTS
A number of successful (and unsuccessful!) musicals
have been based on well-known books, plays and short
stories. William Shakespeares plays have provided the
inspiration for some of Broadways greatest musicals,
like West Side Story, as well as some of its more obscure
flops, like Rockabye Hamlet. Here is a chronological
(though not complete) list:
The Boys From Syracuse (1938) based on The Comedy
of Errors
Swingin the Dream (1939) A swing-era version of
A Midsummer Nights Dream featuring Louis
Armstrong (not on CD)
Kiss Me, Kate (1948) based on Taming of the Shrew
West Side Story (1957) adaptation of Romeo and Juliet
Your Own Thing (1968) based on Twelfth Night
Two Gentlemen of Verona (1972) based on the play of
the same name
Rockabye Hamlet (1976) a rock musical version of
Hamlet (not on CD)
Another Midsummer Night (1995) inspired by
A Midsummer Nights Dream
Other musicals have used novels, short stories, plays, and
poetry as source material:
Show Boat (1927) based on Edna Ferbers novel
A Connecticut Yankee (1927) based on Mark Twains
A Connecticut Yankee in King Arthur's Court
Porgy and Bess (1935) inspired by DuBose Heywards
novel, Porgy
Pal Joey (1940) based on John OHaras short stories
South Pacific (1949) based on James Micheners Tales
of the South Pacific
Guys and Dolls (1950) inspired by Damon Runyons
short stories
Peter Pan (1950) based on the book by James M. Barrie
A Tree Grows in Brooklyn (1951) adapted from Betty
Smiths autobiography
Activity
WHICH STORY WILL YOU CHOOSE?
Imagine that you are interested in developing a new musical,
and want to base it on your favorite book, short story, play, or
poetry. Which literary work will you base your play on? Will
you be relatively faithful to the original, or update the time
setting and characters? Write a brief description of your new
musical, including the work its based on, what your
approach will be and what kinds of songs it will include.
PHOTO CREDITS (LEFT TO RIGHT) ZIEGFELD FOLLIES: CORBIS; MARILYN MILLER: PHOTOFEST, GEORGE M. COHAN: CULVER, ETHEL MERMAN: PHOTOFEST, OKLAHOMA!: GETTY IMAGES, HELLO DOLLY!: PHOTOFEST,
THE LION KING: JOAN MARCUS DISNEY, HAIRSPRAY: PAUL KOLNIK, WICKED: JOAN MARCUS.
8A
HISTORY AND THE MUSICAL
Can-Can (1953) freedom of expression in fin de sicle Paris
Pacific Overtures (1976) American imperialism in Japan
Shenandoah (1977) the Civil War from a Southern
perspective
Sunday in the Park with George (1984) fictionalization of
the life of painter George Seurat
CORBIS
1900s
Times Square
1500s
MUSICAL REVIVALS
Rex (1976) the history of Henry VIII and his six wives
1600s
Man of La Mancha (1965) the Spanish Inquisition
1700s
Ben Franklin in Paris (1963) Franklins days as American
ambassador to France
1776 (1969) the signing of the Declaration of Independence
1800s
Paint Your Wagon (1951) - the 1850s Gold Rush in California
Bloomer Girl (1944) explores the topics of civil rights
during the Civil War
Activities
HISTORIC LYRICS
Think about a time period you are studying in
history. What was one of the most important
events? Who were the most famous people?
Write a poem or song lyrics that sum up what
was important about the event; or write a
poem or lyrics about a major occurrence
from a famous persons life.
MUSICAL ADAPTATIONS
Some history-based musicals are
adapted from movies, television
shows or other sources. Choose a
favorite history-based movie or TV
show from a few years back and
explain how it might work as a musical, describing the time period it is set
in, who the main characters are, and
the basic elements of the plot.
MUSICAL REVIEW
Find a recent CD or video of a musical
revival (see examples above), listen to
or watch it, and write a review of it.
What do the basic elements of the
musical its story line, music and lyrics
tell you about the time period when it
was originally performed? What meaning or value does the recent production
have for our own time?
8B
Quick Program References for Teachers
SEGMENT LIST and
STUDENT CARD HIGHLIGHTS
This list is intended to help you quickly find the segments youd like to screen in class. Segment times are approximate.
Related Student Card highlights and songs on the CD are also noted in bold.
EPISODE ONE
EPISODE THREE
EPISODE FIVE
Tradition
(1893-1927)
(1930-1942)
(1957-1979)
Segments
Series Open (6 minutes)
TITLE: Give My Regards To Broadway
the Ziegfeld Follies (9 minutes)
TITLE: All The Gang At 42nd Street
George M. Cohan (8 minutes)
TITLE: Nothin To Nobody Bert Williams
(6 minutes) (STUDENT CARD)
TITLE: My New York Irving Berlin (6 minutes)
(STUDENT CARD, CD: My New York)
Fanny Brice (4 minutes) (STUDENT CARD)
TITLE: The Heart of New York World War I and
Broadway (3 minutes)
Labor Unrest, Broadway and Bert Williams in
1919 (2 minutes)
TITLE: Show Boat (10 minutes)
Segments
Broadway and the Depression Open (3 minutes)
TITLE: I Was Building a Dream (3 minutes)
(STUDENT CARD, CD: Brother, Can You
Spare a Dime?)
TITLE: Who Could Ask for Anything More
Ethel Merman (3 minutes)
TITLE: Of Thee I Sing (4 minutes)
TITLE: Supper Time Ethel Waters (7 minutes)
(STUDENT CARD)
Cole Porter (7 minutes)
TITLE: Nuttins Plenty Fo Me: Gershwins
Porgy and Bess (9 minutes)
The Cradle Will Rock (6 minutes)
TITLE: Where or When: Rodgers and Harts
Pal Joey (6 minutes)
TITLE: This Is the Army: World War II and
Irving Berlin (5 minutes)
Segments
Open (1 minute)
West Side Story (7 minutes)
TITLE: Before the Parade Passes By
Gypsy, Bye Bye Birdie, Hello Dolly,
Fiddler on the Roof (6 minutes)
Cabaret (6 minutes) (STUDENT CARD,
CD: What Would You Do?)
TITLE: Let the Sunshine In Hair (6 minutes)
(STUDENT CARD)
TITLE: A City of Strangers Company (6 minutes)
TITLE: I Need this Job A Chorus Line, Michael
Bennett (7 minutes)
Bob Fosse: Chicago (6 minutes)
TITLE: He Trod a Path that Few Have Trod:
Stephen Sondheim, Sweeney Todd
(8 minutes)
I Love New York (1 minute)
(1919-1933)
EPISODE FOUR
EPISODE SIX
Segments
Open (4 minutes)
Women and Broadway (3 minutes)
TITLE: Look for the Silver Lining Marilyn Miller
(4 minutes)
The Marx Brothers (1 minute)
Revues (2 minutes)
TITLE: With a Dixie Melody Al Jolson
(5 minutes)
TITLE: Shuffle Along Eubie Blake and Noble
Sissle (6 minutes)
Harlem and Broadway (1 minute)
George White Scandals (2 minutes)
TITLE: Fascinating Rhythm George and Ira
Gershwin (6 minutes) (STUDENT CARD)
TITLE: The Big Apple Broadway, slang and
Walter Winchell (4 minutes) (STUDENT CARD)
TITLE: Two Promising Young Men Rodgers
and Hart (5 minutes)
(STUDENT CARD, CD: Thou Swell)
Good News (2 minutes)
TITLE: You Aint Heard Nothin Yet Al Jolson
and The Jazz Singer (3 minutes)
Broadway, the Depression and Hollywood
(5 minutes)
Putting It Together
(1943-1960)
(1980-2004)
Segments
Open (2 minutes)
Rodgers and Hammerstein and Oklahoma!
(8 minutes)
TITLE: Its a Helluva Town Comden, Green,
Bernstein, Robbins (6 minutes)
Carousel (4 minutes)
(STUDENT CARD, CD: Soliloquy)
TITLE: Theres No Business Like Show Business
Annie Get Your Gun (4 minutes)
Kiss Me Kate (3 minutes)
South Pacific (4 minutes)
TITLE: Luck Be a Lady Guys and Dolls
(4 minutes)
TV variety shows and The Ed Sullivan Show
(3 minutes)
TITLE: I Could Have Danced All Night
My Fair Lady (7 minutes)
Title: Bless My Homeland Forever
The Sound of Music (10 minutes)
Segments
Open (1 minute)
The Producers (5 minutes) (STUDENT CARD,
CD: I Wanna Be a Producer)
David Merrick and 42nd Street (5 minutes)
Cats and Cameron Macintosh (4 minutes)
Les Miserables, Phantom of the Opera, etc.
(3 minutes)
TITLE: Art Isnt Easy: Sunday in the Park with
George and Stephen Sondheim (6 minutes)
La Cage Aux Folles and AIDS (5 minutes)
TITLE: The Circle of Life Disney and Broadway
musicals (6 minutes)
TITLE: One Song Glory Rent and Jonathan
Larson (5 minutes)
Broadway and 9/11, Hairspray (3 minutes)
TITLE: Defying Gravity Wicked, art and
commerce (8 minutes) (STUDENT CARD)
EPISODE TWO
Syncopated City